Directing
Bogdan Ilieșiu
Known for
Directing
Credits
6 titles
Writer, director, and producer - working for FEBRA FILM, a company he set and managed since 2013. Bogdan holds a Bachelor's Degree in European Studies, a Master's Degree in Business Administration (both from Babes Bolyai University in Romania) and a Producer’s Diploma from Hollywood Film Institute, USA. He works with Ionut Gaga and Irina Enea.
Known for
6.0A fantasy and comedy short fiction film about a parking valet suffering from OCD who stumbles upon love.
The Tower of Pisa
2020
7.7When a couple returns to their apartment building on Christmas Eve, they find a man dressed as Santa Claus trying to break into their neighbor's apartment.
Dear Santa Claus
2018
7.0Radu Iovan and his high moral principles become the target of a ten thousand souls wager between God and Satan.
The Headlight
2018
A mysterious man, a seductive woman—and a game that quickly gets out of hand. In Bogdan Ilieșius's sophisticated short film, the perspective shifts in every scene: Who is seducing whom, who is playing with whom—and where is the line between seduction and violence?
The Tie
2025
Behind the camera
6.0A fantasy and comedy short fiction film about a parking valet suffering from OCD who stumbles upon love.
The Tower of Pisa
2020
6.0A fantasy and comedy short fiction film about a parking valet suffering from OCD who stumbles upon love.
The Tower of Pisa
2020
7.7When a couple returns to their apartment building on Christmas Eve, they find a man dressed as Santa Claus trying to break into their neighbor's apartment.
Dear Santa Claus
2018
7.7When a couple returns to their apartment building on Christmas Eve, they find a man dressed as Santa Claus trying to break into their neighbor's apartment.
Dear Santa Claus
2018
7.0Radu Iovan and his high moral principles become the target of a ten thousand souls wager between God and Satan.
The Headlight
2018
A mysterious man, a seductive woman—and a game that quickly gets out of hand. In Bogdan Ilieșius's sophisticated short film, the perspective shifts in every scene: Who is seducing whom, who is playing with whom—and where is the line between seduction and violence?
The Tie
2025
